Im So Hungry I Need Jotahan........ Do I Need To Draw Them Myself.........

drawing with the mirror trio

I literally have had a meltdown because of another idea w them

AI defenders will make it seem as if art is this gatekept pastime that only the most elite can partake in and they’re making it possible for the “normies” to create meanwhile one of the most memorable pieces of recent art I’ve ever seen is “My son’s drawing of safe”

I love "gender bending" characters but HATE HATE HATE designs where canon buff dudes are wispy little fairy ladies and canon tiny women are beefy ass male linebackers. If you're not in it for JACKED WOMEN and TWINKS then what's what's FUCKING point

Rohan is so silly

ooughhm.....

OOGHH.....

HE SMILED AT HIM.

luoheng.

LUOHENGGGG.

im sorry but like??!? EHEHHEH they make me giggle and kick my feet no way we got A WHOLE ASS OFFICIAL ART of dh totally admiring his boyfriend

another stupid jotahan headcanon:

rohan would absolutely love the fact that jotaro’s favorite color is, canonically, transparent. rohan’s an artist, he always asks his dates about their favorite color, and definitely judges them way too harshly based on their answer. someone says something simple like “blue” or “red”? too boring for the artistic mind of the great rohan kishibe. but if they get too poetic or dramatic about it and say something like “the color of the sky as the sun is rising over the sea”? too pretentious, and they probably think they’re more creative than him, which is obviously impossible.

so there he is, sitting across a table from jotaro at tonio’s restaurant on what he’s pretty sure is a date, and he asks, “what’s your favorite color?”

there’s a pause as jotaro’s brow furrows and he seems to be genuinely considering the question. that’s a good sign.

eventually, the gruff response comes. “transparent stuff, i guess.”

rohan blinks while he processes this answer, makes sure he heard it right. it’s a stupid answer, really. completely absurd. right? oh, but it’s interesting, and that’s what rohan really cares about. he wants to know more about the inner workings of the mind of a man whose favorite color is transparent.

that’s why they work so well together. jotaro is used to being an outsider, a misunderstood loner. then rohan comes along, sees all the things that make him weird and different to most people, and instead of trying to change him, he says, oh, this is delightful, and i want to know more of your wonderful mind

Transmasculinity and queer sexuality in the works of Ikeda Riyoko

Content Warning: Discussion of transphobia and suicide

Spoilers for Dear Brother, The Rose of Versailles, and Claudine

Ikeda Riyoko—perhaps the most famous member of the “year 24 group” that played a large part in creating the foundations of the shoujo manga genre—is often credited with laying the groundwork for depictions of queer characters in shoujo, and in particular with creating the archetype of the gender-bending heartthrob heroine, or “girl prince.” Building on earlier representations of butch or transmasculine characters in early shoujo manga such as Princess Knight, and the Takarazuka theater tradition of the otokoyaku male role actor, Ikeda’s enormously popular gender non-conforming heroes—Lady Oscar from The Rose of Versailles, Rei from Dear Brother, Julius from the Window of Orpheus, and the titular character of Claudine—helped to establish that there was a major mainstream audience excited to cheer for a hotheaded, androgynous tomboy with a heart of gold. Lady Oscar in particular has fingerprints all over the history of anime and manga, from a gender-bending cameo in Pokémon to serving as the inspiration for iconic characters like Tenjou Utena.

When I first read The Rose of Versailles last year, I expected its depictions of queer and transmasculine characters to be somewhat limited—after all, the comic was written for mainstream audiences and a mainstream publisher in the 1970s. But across Ikeda’s work, I was deeply surprised with the level of care and nuance with which Ikeda approaches transmasculine love stories. While there is obviously a lot about Ikeda’s portrayal of transmasculine characters that feels dated to modern audiences (for example, her comics often do fall back on “biological” ideas of women’s weakness and emotionality, and sometimes psychologize her character’s genders in uncomfortable ways), I was surprised by how much of these comics still hit for me today. What makes them work for me is both the extreme pathos with which Ikeda writes transmasculine character’s experiences of rejection—and, at rare moments, gender euphoria —but also the fact that her trans characters are not simply given a one-size fits all born-in-the-wrong-body narrative. Instead, they are each portrayed as unique individuals with varied personal relationships to their gender, their sexuality, and the historical context of the society they live in.

Read it at Anime Feminist!

Repost of some saiki k fanart,,,